<<Female Figure I>>. Trash on cartoon. May, 2016. BR
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| Female Figure I |
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| Female Figure I, detail |
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| Female Figure I, detail |
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| Female Figure I, detail |
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| Female Figure I, detail |
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| Female Figure I, detail |
venerdì 27 maggio 2016
Self portrait/Female Figure I
<<Female Figure I>>. Trash on cartoon. May, 2016. BR
giovedì 19 maggio 2016
Sounds from underground/File N°043
we're still in Australia to present you <<Secret Salmon>>, because weird is beautiful.
0. Name of the band?
Secret Salmon
1. Where are you from?
Australia
2. What kind of instruments/equipment you use? Do you use some particular record technique? Which is your method of composition?
It is very important to unclog the arteries of the Australian financial system. We've had a very stifled, non-competitive environment in banking. We've had four major banks, and a handful of state banks dominating the whole banking community of Australia.
3. What do you think about the music context nowadays and how you place yourself in? Do you feel a part of any scene?
Well, the fact is, if you go in to an Australian bank, you walk in as a mendicant – you walk in hoping the bank will do something for you. If you go in to a bank in any other country, you go in as a customer, there they’re glad to see you. Now, that’s going to change, that’s what’s going to happen in Australia.
4. Do you think that nowadays has still sense talking about "underground"?
If you want to start talking about equity and fairness, you better start with unemployment, but you can’t do it with a sick economy. Banking is the artery of economy and we’ve had hardening of the arteries for too long in this country.
5. Do you play live? How do public react to your music?
Well, when we see these foreign banks operate here, the competition will liven our banks up, and the fact that they thought there was perhaps an easy road to profits and earnings by not competing with one another too vigorously with services will come to an abrupt end.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant". What do your records represent to you?
Unemployment.
0. Name of the band?
Secret Salmon
1. Where are you from?
Australia
2. What kind of instruments/equipment you use? Do you use some particular record technique? Which is your method of composition?
It is very important to unclog the arteries of the Australian financial system. We've had a very stifled, non-competitive environment in banking. We've had four major banks, and a handful of state banks dominating the whole banking community of Australia.
3. What do you think about the music context nowadays and how you place yourself in? Do you feel a part of any scene?
Well, the fact is, if you go in to an Australian bank, you walk in as a mendicant – you walk in hoping the bank will do something for you. If you go in to a bank in any other country, you go in as a customer, there they’re glad to see you. Now, that’s going to change, that’s what’s going to happen in Australia.
4. Do you think that nowadays has still sense talking about "underground"?
If you want to start talking about equity and fairness, you better start with unemployment, but you can’t do it with a sick economy. Banking is the artery of economy and we’ve had hardening of the arteries for too long in this country.
5. Do you play live? How do public react to your music?
Well, when we see these foreign banks operate here, the competition will liven our banks up, and the fact that they thought there was perhaps an easy road to profits and earnings by not competing with one another too vigorously with services will come to an abrupt end.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant". What do your records represent to you?
Unemployment.
venerdì 13 maggio 2016
Sounds from underground/File N°042
Australians do it better. When I look for the music on web and I see a tag "Australia" I'm pretty sure that it'll be done good, with taste and probably I'll like it. and that's what we can tell about <<The Parking Lot Experiments>>. experimental pop, of really, really very high quality, melodies are composed brilliantly, instrumental parts aren't banal, are fresh and original. <Beginnners> is one of this albums that you don't need to comment a lot, because is simply sooo good. and there's a lack of good music nowadays.
i n t e r v i e w
0. name of the band
The Parking Lot Experiments
1. where are you from?
Melbourne, Australia
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
Drums, guitar, bass, and lots of electronics (software based)
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think these days, for acts who are into things like hope and community, it's pretty hard to be "cool" - As for belonging in a scene, I reckon as the trends shifted over the years our little scene basically disappeared.
4. do you think that nowadays has still sense talking about "underground"?
Yep. Just be aware that "Mainstream = Bad" and "Underground = Good" are ideals that are way too simplistic and naive to live by forever.
5. do you play live? how public react to your music?
We've been playing live for years, and our live shows have always been a kind of celebration. There's a strange happiness that music brings us and we want other people to feel it too - sometimes it happens.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
High School was shit for me and music helped me through it and I want to help some kid in the same way. Our records are a shambolic collection and distillation of all sorts of musical influences from around the world, filtered through a sense of not-belonging, playfulness, questioning and hope. When you listen to our records, it can be a cathartic experience, but even when it is, you'll inevitably end up with more questions than you had before (cuz there's no such thing as a happy ending, really).
i n t e r v i e w
0. name of the band
The Parking Lot Experiments
1. where are you from?
Melbourne, Australia
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
Drums, guitar, bass, and lots of electronics (software based)
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think these days, for acts who are into things like hope and community, it's pretty hard to be "cool" - As for belonging in a scene, I reckon as the trends shifted over the years our little scene basically disappeared.
4. do you think that nowadays has still sense talking about "underground"?
Yep. Just be aware that "Mainstream = Bad" and "Underground = Good" are ideals that are way too simplistic and naive to live by forever.
5. do you play live? how public react to your music?
We've been playing live for years, and our live shows have always been a kind of celebration. There's a strange happiness that music brings us and we want other people to feel it too - sometimes it happens.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
High School was shit for me and music helped me through it and I want to help some kid in the same way. Our records are a shambolic collection and distillation of all sorts of musical influences from around the world, filtered through a sense of not-belonging, playfulness, questioning and hope. When you listen to our records, it can be a cathartic experience, but even when it is, you'll inevitably end up with more questions than you had before (cuz there's no such thing as a happy ending, really).
giovedì 12 maggio 2016
Sounds from ether/Mindnet Lab Technicians "Mindnetaya Symphonija Live"
a great performance by <<Mindnet Lab Technicians>>, an Italian noise project, more info about you'll find here https://www.facebook.com/mindnetlabtech/
mercoledì 11 maggio 2016
domenica 8 maggio 2016
Sounds from underground/File N°041
a Belgium noise project <<Be the Hammer>> is a exquisite sound propose. these wonderful compositions are much more than usually you expect from a common noise music. supreme.
0. name of the band
Be the Hammer, B_T_H in abbreviated form.
1. where are you from?
Belgium.
2. what kind of instruments/equipment do you use?
To answer this question I first need to explain a few things about how the project works. B_T_H started as a collaborative effort between Brussels-based musician Dominique Van Cappellen-Waldock, and myself. When I first met Dominique at a gig of our common friends JOHN 3:16 aka Philippe Gerber and Insect Ark aka Dana Schechter in Brussels, I became aware of some of her bands (Baby Fire, Von Stroheim) in which she sometimes plays the Theremin. Not as a prominent instrument though, more in addition to some rock-oriented instrumentations. I've always been fascinated with this instrument, so primitive in a way but full of possibilities at the same time,and I suggested to her the idea of recording an entire album using only the Theremin. Surprisingly enough, she agreed. We started recording improvised sessions in her home studio, she was playing the Theremin while I was using a looper to obtain very dense, multi-layered sounds, and a variety of effect pedals which made most of our takes sound very noisy, drone-like, soundscapes based. This was when the overall aesthetic of what was to become the first album, Tangled Mass, took shape. Then I got started with the next phase of our work: selecting, editing, processing and overdubbing extensively the raw material we acquired so far. None of the album's tracks is structured in any conventional way, nor is beat-driven by any mean, but they all do have some sort of constructed, consciously assembled approach to them, and that aspect of the music was defined at that moment. It was just me and my computer for the most part, using a DAW software and plug-ins. Afterwards I wrote lyrics and we recorded Dominique voice's on three of the six tracks, which were then mixed by my pal Nicolas Surra Spadea and mastered by another pal, Samuel Cloet.
More recently I started recording new material alongside a guitarist, Jean-Marc Nicoletti (aka Unidentified Sonic Attack), and B_T_H is now taking a whole new direction. This time I'm in charge of the electronics (synths [a Korg Minilogue for the most part],sampler), lyrics and vocals, Jean-Marc plays his guitar, then we process his riffs and drones through various effects (I'm currently experimenting with granular synthesis plug-ins among other tools) and as Jean-Marc is a gifted sound engineer as well, we handle the production together.
3. what do you think about the music context nowadays and how do you place yourself in? do you feel a part of any scene?
First of all I think the current state of the music world is endlessly fascinating and challenging, with the incredible number of new artists emerging, and of new records being put out everyday. The ability these artists have to cut the middlemen and share their music with an audience directly through platforms such as Bandcamp among others, is also great. As long as such a vivid, adventurous indie scene will exist, I won't consider the music world to be undergoing some kind of crisis, just because it became harder to sell records. Wake up,people: it has ALWAYS been hard to be a professional musician and to make a decent living out of it, and this goes way back before the invention of recorded music. Enough said.
More specifically, the noise scene has fragmented itself into many hybrids nowadays,some of which I think are extremely exciting, some of which aren't at all. For example, artists such as Shapednoise are building bridges between noise and beat-driven electronic music,hopefully making it a bit less impenetrable for a broader audience. L.A.'s Crowhurst are also creating a fusion of their own, something fresh and exciting which combines noise, metal and other influences. In Berlin you have Slow Slow Loris and their one of a kind lyrical/melodic approach to noise/experimental music. Then there's this branch of noise music that's more related to electro-acoustic and tape music, that might be seen as coming from a more intellectual approach but can also deliver very visceral, well crafted noise pieces, from artists such as Benjamin Thigpen among others. All of these hybrid, innovative sounds are a constant inspiration to me. These artists don't seem to care about labeling their own music or fitting into a scene, they mostly care about creating something personal and sincere. This is what I'd like to achieve with B_T_H. On the other hand, some of the noise sub-genres that emerged lately, such as 'harsh noise wall' among others, are quite boring, and seem to be comprised of people caring more about fitting into a genre and repeating the same clichés over and over, than making something of their own. I have no interest in that at all.
4. which is your method of composition?
As opposed to the improvisational approach used for the first album that I explained above, for our current recordings we adopted a much more structured workflow. Every time we enter the studio we bring in ideas for composition, sounds and lyrics. These might not be fully developed ideas yet, but they give us a sense of direction and allow us to obtain a concrete result much faster, something that might not need a whole lot of further manipulations to resemble a final track. I believe it's a more dynamic and fulfilling way to write music and we intend to keep working that way in the future.
5. how is your recording approach? do you use some particular record technique?
When I record sketches at my place I just plug my synth and/or mic in my laptop through a small portable audio interface. It's a very rudimentary setup and I don't need much more. When we work on complete tracks with Jean-Marc though, we do it at his studio, which is much more heavily equipped. He has been a sound engineer for twenty years and acquired a lot of gear during that time: full racks of analog processors, effect pedals, synths, good microphones, and so on. Using all these machines is another source of inspiration in itself.Manipulating audio hardware fits our approach to what a cyberpunk author might call 'the man-machine interface', much more than any kind of software-based tools. We do use ProTools though, but mainly as if it was a big, powerful, flexible tape machine, only for recording and editing.
6. do you play live? how does the public react to your music?
B_T_H in its first incarnation, comprised of Dominique and myself, never performed live for a simple reason: it was always meant as a studio-based project, basically consisting of a 'virtual Theremin orchestra', and it would have been quite difficult to recreate it in a live environment. Besides, our first album often leans towards ambient compositions, and as passionate as I am about ambient, I often find it quite boring in the context of a live show, at least when it isn't combined to other elements, such as video projections for example, and I wouldn't want to ask people to pay to see something that would bore the crap out of me if I was in the audience.
For B_T_H in its current incarnation, comprised of Jean-Marc and myself, it's another story. The material we've been writing/recording lately already sounds/feels like it would be much more interesting to recreate in a live environment. We won't rush anything though: we'll only hit the stage when we feel ready to offer the audience something exciting.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant." What do your records represent to you?
As always, Gen spoke the truth. To me, recorded music is a way to freeze time and keep a trace of how you feel, how you see yourself and the world at that exact moment.Listening to these recordings again in the future might not feel as vital and relevant as when they were made, but it will still feel relevant to keep them with you and to share them with others on occasions, just like some people keep photographs of themselves in an album (something I could never relate to; I assume the way my memory works is more focused on sounds and impressions than on pictures). As a listener (which is how I define myself, more than anything), it's essential to be able to play the same record at different times of your life, in different moods, and see how it impacts you on a different way each time. And nowadays digital technology allows us to keep these recordings forever in an unaltered form, so we should take advantage of that privilege.
0. name of the band
Be the Hammer, B_T_H in abbreviated form.
1. where are you from?
Belgium.
2. what kind of instruments/equipment do you use?
To answer this question I first need to explain a few things about how the project works. B_T_H started as a collaborative effort between Brussels-based musician Dominique Van Cappellen-Waldock, and myself. When I first met Dominique at a gig of our common friends JOHN 3:16 aka Philippe Gerber and Insect Ark aka Dana Schechter in Brussels, I became aware of some of her bands (Baby Fire, Von Stroheim) in which she sometimes plays the Theremin. Not as a prominent instrument though, more in addition to some rock-oriented instrumentations. I've always been fascinated with this instrument, so primitive in a way but full of possibilities at the same time,and I suggested to her the idea of recording an entire album using only the Theremin. Surprisingly enough, she agreed. We started recording improvised sessions in her home studio, she was playing the Theremin while I was using a looper to obtain very dense, multi-layered sounds, and a variety of effect pedals which made most of our takes sound very noisy, drone-like, soundscapes based. This was when the overall aesthetic of what was to become the first album, Tangled Mass, took shape. Then I got started with the next phase of our work: selecting, editing, processing and overdubbing extensively the raw material we acquired so far. None of the album's tracks is structured in any conventional way, nor is beat-driven by any mean, but they all do have some sort of constructed, consciously assembled approach to them, and that aspect of the music was defined at that moment. It was just me and my computer for the most part, using a DAW software and plug-ins. Afterwards I wrote lyrics and we recorded Dominique voice's on three of the six tracks, which were then mixed by my pal Nicolas Surra Spadea and mastered by another pal, Samuel Cloet.
More recently I started recording new material alongside a guitarist, Jean-Marc Nicoletti (aka Unidentified Sonic Attack), and B_T_H is now taking a whole new direction. This time I'm in charge of the electronics (synths [a Korg Minilogue for the most part],sampler), lyrics and vocals, Jean-Marc plays his guitar, then we process his riffs and drones through various effects (I'm currently experimenting with granular synthesis plug-ins among other tools) and as Jean-Marc is a gifted sound engineer as well, we handle the production together.
3. what do you think about the music context nowadays and how do you place yourself in? do you feel a part of any scene?
First of all I think the current state of the music world is endlessly fascinating and challenging, with the incredible number of new artists emerging, and of new records being put out everyday. The ability these artists have to cut the middlemen and share their music with an audience directly through platforms such as Bandcamp among others, is also great. As long as such a vivid, adventurous indie scene will exist, I won't consider the music world to be undergoing some kind of crisis, just because it became harder to sell records. Wake up,people: it has ALWAYS been hard to be a professional musician and to make a decent living out of it, and this goes way back before the invention of recorded music. Enough said.
More specifically, the noise scene has fragmented itself into many hybrids nowadays,some of which I think are extremely exciting, some of which aren't at all. For example, artists such as Shapednoise are building bridges between noise and beat-driven electronic music,hopefully making it a bit less impenetrable for a broader audience. L.A.'s Crowhurst are also creating a fusion of their own, something fresh and exciting which combines noise, metal and other influences. In Berlin you have Slow Slow Loris and their one of a kind lyrical/melodic approach to noise/experimental music. Then there's this branch of noise music that's more related to electro-acoustic and tape music, that might be seen as coming from a more intellectual approach but can also deliver very visceral, well crafted noise pieces, from artists such as Benjamin Thigpen among others. All of these hybrid, innovative sounds are a constant inspiration to me. These artists don't seem to care about labeling their own music or fitting into a scene, they mostly care about creating something personal and sincere. This is what I'd like to achieve with B_T_H. On the other hand, some of the noise sub-genres that emerged lately, such as 'harsh noise wall' among others, are quite boring, and seem to be comprised of people caring more about fitting into a genre and repeating the same clichés over and over, than making something of their own. I have no interest in that at all.
4. which is your method of composition?
As opposed to the improvisational approach used for the first album that I explained above, for our current recordings we adopted a much more structured workflow. Every time we enter the studio we bring in ideas for composition, sounds and lyrics. These might not be fully developed ideas yet, but they give us a sense of direction and allow us to obtain a concrete result much faster, something that might not need a whole lot of further manipulations to resemble a final track. I believe it's a more dynamic and fulfilling way to write music and we intend to keep working that way in the future.
5. how is your recording approach? do you use some particular record technique?
When I record sketches at my place I just plug my synth and/or mic in my laptop through a small portable audio interface. It's a very rudimentary setup and I don't need much more. When we work on complete tracks with Jean-Marc though, we do it at his studio, which is much more heavily equipped. He has been a sound engineer for twenty years and acquired a lot of gear during that time: full racks of analog processors, effect pedals, synths, good microphones, and so on. Using all these machines is another source of inspiration in itself.Manipulating audio hardware fits our approach to what a cyberpunk author might call 'the man-machine interface', much more than any kind of software-based tools. We do use ProTools though, but mainly as if it was a big, powerful, flexible tape machine, only for recording and editing.
6. do you play live? how does the public react to your music?
B_T_H in its first incarnation, comprised of Dominique and myself, never performed live for a simple reason: it was always meant as a studio-based project, basically consisting of a 'virtual Theremin orchestra', and it would have been quite difficult to recreate it in a live environment. Besides, our first album often leans towards ambient compositions, and as passionate as I am about ambient, I often find it quite boring in the context of a live show, at least when it isn't combined to other elements, such as video projections for example, and I wouldn't want to ask people to pay to see something that would bore the crap out of me if I was in the audience.
For B_T_H in its current incarnation, comprised of Jean-Marc and myself, it's another story. The material we've been writing/recording lately already sounds/feels like it would be much more interesting to recreate in a live environment. We won't rush anything though: we'll only hit the stage when we feel ready to offer the audience something exciting.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant." What do your records represent to you?
As always, Gen spoke the truth. To me, recorded music is a way to freeze time and keep a trace of how you feel, how you see yourself and the world at that exact moment.Listening to these recordings again in the future might not feel as vital and relevant as when they were made, but it will still feel relevant to keep them with you and to share them with others on occasions, just like some people keep photographs of themselves in an album (something I could never relate to; I assume the way my memory works is more focused on sounds and impressions than on pictures). As a listener (which is how I define myself, more than anything), it's essential to be able to play the same record at different times of your life, in different moods, and see how it impacts you on a different way each time. And nowadays digital technology allows us to keep these recordings forever in an unaltered form, so we should take advantage of that privilege.
lunedì 2 maggio 2016
domenica 1 maggio 2016
Sounds from underground/File N°040
a bit of noise pop by <<Tatiana Butts>>. lovely lo-fi attitude and nice melodies. stay tuned!
0. name of the band
I'm a solo artist, and I haven't collaborated with anybody yet. my name is Tatiana Butts but you can refer to me as Tatiana :)
1. where are you from?
I'm originally from Canada and I have family all over the world, but I currently live in Italy.
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
as for instruments, I use my guitar & my voice (planning to get an electric drum set soon though!) and I seriously don't use any special equipment, I have my guitar amplifier and I use GarageBand on my MacBook Pro, my phone, and a set of headphones. I've only recently started making music and I can't afford buying expensive things right now so I try making songs with what I have.
my method of composition is writing my lyrics (I get ideas throughout the day which I make sure to write on a piece of paper and then into my songbook) then I come up with a melody and record it with my voice & guitar. sometimes I record spontaneously without even writing anything, like I did for "the back of basil's head".
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think popular music nowadays is stirring towards hip-hop, electronic, "alternative rock" (i put this in quotation marks because i feel like this term has become very diluted, as many bands are referred to with this term to seem edgy and cool, when in reality their music resembles pop much more, but that's a different topic) and of course, pop, as always. as much as i do enjoy those genres when i'm in a particular mood, or just hanging out with my friends in general, i feel as though i do not belong in those categories as an artist. when i am alone, i tend to listen to lo-fi, noise pop, garage, fuzz, beach goth, funk and various similar genres. i do not feel like i can categorise my music in any sort of box because i love to experiment with different sounds, noises, lyrics and techniques. i am quite new to actually creating music, therefore i definitely do not feel part of any scene. (only very few of my friends & family know about my music because I'm to embarrassed haha)
4. do you think that nowadays has still sense talking about "underground"?
yes! i think many "underground" musicians can be found on bandcamp or on the internet in general, as they're free methods of expanding your fanbase. there are many similar artists to me and they use the same cheap quality instruments and equipment as me, as opposed to famous people who can afford to use high quality equipment. that's what's underground to me.
5. do you play live? how public react to your music?
I do not play live (yet)
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
whenever i feel something, whether that being happiness, sadness, anger, weakness, strength... i write. i love to write poems, and that's how i express myself. i never used to show anything to people because i fear that when i put out my art, i lose control of it. rather than being in my hands, the control goes into the hands of my audience, who will always have a reaction, whether it be positive or negative. i used to fear that reaction. i recently, i gave up worrying about this reaction, so I've turned my poems into songs as an easier way of listening to what i have to say rather that reading it. to conclude, i can surely state that my reason for making music is to express myself and relate to other people who feel the same.
0. name of the band
I'm a solo artist, and I haven't collaborated with anybody yet. my name is Tatiana Butts but you can refer to me as Tatiana :)
1. where are you from?
I'm originally from Canada and I have family all over the world, but I currently live in Italy.
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
as for instruments, I use my guitar & my voice (planning to get an electric drum set soon though!) and I seriously don't use any special equipment, I have my guitar amplifier and I use GarageBand on my MacBook Pro, my phone, and a set of headphones. I've only recently started making music and I can't afford buying expensive things right now so I try making songs with what I have.
my method of composition is writing my lyrics (I get ideas throughout the day which I make sure to write on a piece of paper and then into my songbook) then I come up with a melody and record it with my voice & guitar. sometimes I record spontaneously without even writing anything, like I did for "the back of basil's head".
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think popular music nowadays is stirring towards hip-hop, electronic, "alternative rock" (i put this in quotation marks because i feel like this term has become very diluted, as many bands are referred to with this term to seem edgy and cool, when in reality their music resembles pop much more, but that's a different topic) and of course, pop, as always. as much as i do enjoy those genres when i'm in a particular mood, or just hanging out with my friends in general, i feel as though i do not belong in those categories as an artist. when i am alone, i tend to listen to lo-fi, noise pop, garage, fuzz, beach goth, funk and various similar genres. i do not feel like i can categorise my music in any sort of box because i love to experiment with different sounds, noises, lyrics and techniques. i am quite new to actually creating music, therefore i definitely do not feel part of any scene. (only very few of my friends & family know about my music because I'm to embarrassed haha)
4. do you think that nowadays has still sense talking about "underground"?
yes! i think many "underground" musicians can be found on bandcamp or on the internet in general, as they're free methods of expanding your fanbase. there are many similar artists to me and they use the same cheap quality instruments and equipment as me, as opposed to famous people who can afford to use high quality equipment. that's what's underground to me.
5. do you play live? how public react to your music?
I do not play live (yet)
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
whenever i feel something, whether that being happiness, sadness, anger, weakness, strength... i write. i love to write poems, and that's how i express myself. i never used to show anything to people because i fear that when i put out my art, i lose control of it. rather than being in my hands, the control goes into the hands of my audience, who will always have a reaction, whether it be positive or negative. i used to fear that reaction. i recently, i gave up worrying about this reaction, so I've turned my poems into songs as an easier way of listening to what i have to say rather that reading it. to conclude, i can surely state that my reason for making music is to express myself and relate to other people who feel the same.
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